plate no. 6076
Madame Alexandre Kohler
Paul Gauguin, 1887
recreation guide
Madame Alexandre Kohler (1887) represents a pivotal moment in Paul Gauguin’s transition from Impressionism toward the non-representational use of color and form that would define his later Synthetist and Cloisonnist works. Painted during his time in Panama, this portrait reflects his growing interest in 'capturing the soul of nature' and expressing 'ancient truths' rather than merely recording visual reality (Source 3). The work likely exhibits the 'naivety' and 'compositional austerity' influenced by Japanese prints and folk art, emphasizing major forms and upright lines to clearly define shape and contour (Source 3).
estimated time
20-30 hours over 5-7 sessions
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Red, Yellow) | Primary pigments for the grisaille underpainting and subsequent glazing/scumbling layers. | Standard tube oils; Ultramarine Blue, Titanium White, Ivory Black, Cadmium Red/Yellow or Alizarin/Cadmium mixes. |
| Oil of Copavia (or modern linseed/walnut oil) | Medium for the first and second paintings, as cited in Reynolds' method which Gauguin may have studied or adapted. | Stand oil or refined linseed oil. |
| Varnish | Mixed with oil for later glazing stages to gain mastery over transparent coats. | Dammar varnish or synthetic resin varnish. |
| Canvas or Panel | Support for the oil painting. | Linen canvas primed with gesso. |
preparation
surface prep
Prepare a neutral ground. While specific preparation for this 1887 portrait is not detailed in the sources, Gauguin’s move away from subtle gradations suggests a need for a stable, non-absorbent surface to support bold outlines and flat areas of color (Source 4). A standard white or off-white gesso ground is appropriate for the high-key contrasts often found in his work of this period.
underdrawing
Gauguin’s work from this period emphasizes 'major forms and upright lines to clearly define shape and contour' (Source 3). The underdrawing should be decisive, focusing on the structural integrity of the figure rather than delicate shading. It should reflect the 'compositional austerity' influenced by Japanese prints, avoiding excessive detail in favor of clear, bold outlines that will later serve as boundaries for color fields (Source 3, Source 4).
underpainting
Employ a grisaille (monochrome) underpainting. According to traditional methods cited in the sources, one should 'mentally extract the red and yellow colours' and paint the remaining tones in black, ultramarine, and white (Source 1). This establishes the chiaroscuro and value structure before introducing color. This method allows the artist to focus on form and light without the distraction of hue, aligning with the 'sound craftsman' approach to mastering the medium (Source 7).
color palette
Ultramarine
Pure Ultramarine Blue
Part of the initial grisaille underpainting along with black and white (Source 1).
White
Lead White or Titanium White
Highlights and mixing in the grisaille underpainting (Source 1).
Black
Ivory Black or Lamp Black
Shadows and outlines in the grisaille underpainting (Source 1).
Red and Yellow Tones
Various reds and yellows
Glazing and scumbling over the dry grisaille to introduce color, mimicking the tinting of an engraving (Source 1).
composition
The composition likely emphasizes 'major forms and upright lines' to define shape and contour, reflecting Gauguin’s influence from Japanese prints and folk art (Source 3). The figure is treated with a 'naivety' that avoids complex perspective, focusing instead on the 'bare emotional purity' of the subject (Source 3). The arrangement of lines and colors is 'carefully considered and calculated in advance' to create harmonies that stimulate the imagination, similar to music (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the figure using bold, upright lines to define the major forms and contours. Avoid subtle shading; focus on the structural outline.
Tip — Ensure the lines are decisive, reflecting the influence of Japanese prints and folk art.
Compositional Austerity
underpainting
step 02
Paint a grisaille using only black, ultramarine, and white. Mentally extract red and yellow tones, focusing on the value structure and chiaroscuro.
Tip — Use oil of copavia (or a similar medium) for this first painting stage.
Grisaille Underpainting
first pass
step 03
Allow the grisaille to dry completely. Then, begin glazing and scumbling with oil, introducing red and yellow tones as they occur in the composition.
Tip — Treat the color application like tinting an engraving with watercolors, applying transparent coats over the monochrome base.
Glazing and Scumbling
refining
step 04
As mastery increases, mix varnish with oil for subsequent glazing layers. Use scumbling (semi-opaque painting) to create coldness or grey blooms where needed, allowing the underlying painting to show through.
Tip — Be aware that scumbling over a darker ground tends to coldness, which can be used to achieve specific tonal effects.
Scumbling
finishing
step 05
Refine the color harmonies by considering the simultaneous contrast of colors. Ensure that adjacent colors enhance each other, creating a 'true gradation of light' and emotional resonance.
Tip — Remember that colors appear different when juxtaposed; adjust tones to achieve the desired harmony and emotional impact.
Simultaneous Contrast
critical techniques
Glazing and Scumbling
Used to build up color layers over a dry grisaille underpainting. Glazing involves transparent coats of color, while scumbling uses semi-opaque paint to allow the underlayer to show through, creating complex tonal effects.
Simultaneous Contrast
Applied to harmonize colors in the composition. By understanding how adjacent colors affect each other, the artist can create more vibrant and emotionally resonant harmonies, avoiding the 'vulgar' direct expression of reality.
Compositional Austerity
Emphasizing major forms and upright lines to define shape and contour, influenced by Japanese prints and folk art. This approach seeks 'bare emotional purity' and avoids excessive detail.
common pitfalls
- →Over-modeling or getting 'too much tied down to your outline' can lead to smallness and timidity. Copying works like Reynolds’s 'Portraits of Two Gentlemen' can help check this tendency (Source 7).
- →Ignoring the law of simultaneous contrast can result in colors appearing dull or inaccurate. The eye is susceptible to fatigue when disentangling modifications caused by contiguous colors, so careful observation is needed (Source 6).
- →Attempting to paint directly without a solid underpainting may lead to a lack of structural integrity. The 'sound craftsman' must master the medium’s capacities before expressing complex ideas (Source 7).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific details of Madame Alexandre Kohler’s clothing, jewelry, or facial expression are not described in the sources, so these must be inferred from general knowledge of Gauguin’s style or the actual painting, which is outside the scope of the provided text.
- ·The exact pigment palette used by Gauguin for this specific 1887 portrait is not detailed; the guide relies on general historical practices and the grisaille method described in Source 1.
- ·The specific compositional layout of the portrait (e.g., background elements, pose) is not described in the sources, so the guide focuses on general compositional principles of Gauguin’s style at this time.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting and glazing techniques
- ON COPYING — applied to Craftsmanship and avoiding over-modeling
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color harmony and simultaneous contrast
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Paul Gauguin↗
- part 25 — applied to Compositional style and emotional intent
- part 6 — applied to Transition to Cloisonnism and Synthetism
Read more about the corpus on the sources page and how the guides are built on the methods page.
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